Hubbard Garden related holdings consist of 2 folders, 60 35 mm. slides (1995) and 44 digital images (2018). Folders include numerous photocopies of articles about the garden.
General:
The two-acre property has a 1937 Colonial revival house and gardens that have been reworked many times since 1969 when the current owners moved in. The sloping property has been terraced, replacing a grassy hillside in back with dense plantings and winding stone walkways that lead eventually to a woodland garden. Along the front of the house there are three courtyards connected by a broad brick walkway that culminates at an antique cast iron bench painted turquoise blue; the doorway to the house is through another small private courtyard off to one side under a rough timber pergola. A curving 840-square-foot swimming pool with a dark gray reflective interior has a stone wall with fountains. The owners have collected thousands of trees, shrubs, perennials and bulbs that fill the terraces in front and back as well as screen their property. Conifers that have year round interest include Japanese umbrella pine, blue spruce, hinoki cypress, and Japanese cedar. There are modernist sculptures places around the upper terraces, along with a fish pond. Raised beds for growing vegetables now grow tulips and other flowers. Dwarf conifers and sedum are planted in hypertufa troughs. Other plant collections include more than 150 varieties of daylilies, hydrangeas, azaleas, rhododendron and ornamental grasses that were amassed by landscape architect Kurt Bluemel. The areas designed by Bluemel hug the hillside with curving terraces supported by dry stone walls that bring the gardens into closer association with the house. Perennials are planted in large drifts while evergreens are used as backdrops and screens. Plants that succumb are replaced with different varieties and deer fencing was installed in 2009.
Persons associated with the property include: Dr. and Mrs. Henrich (former owners, 1937-1969); T. Worth Jamison (1893-1964) (architect, 1937); Kurt Bluemel (1933-2014) (landscape designer, 1990); Ingrid Ernestl (gardener, 1994-2010); Ulrich Ruckriem (sculptor); Ian Aurbuch (sculptor); Matthew Harris (sculptor); Costas Velatsis (sculptor); Anthony Card (sculptor); Wade Saunders (sculptor); and Jon Iserwood (sculptor).
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
United States of America -- Maryland -- Baltimore County -- Lutherville
Scope and Contents:
The folder includes a work sheet and slide view plan and magazine article.
General:
The garden started in 1958 from an existing woodland property using material from Henry Hohman's Nursery. Small pieces of sculpture were purchased for the shade garden beginning in the 1960s. In 1970, a tennis court was added; and development of the lawns and borders began. This garden is the result of the marriage of two growers; one an artist, the other a horticulturist. "The collections of trees, shrubs, perennials, bulbs and sculpture are incorporated into a cohesive work of art."
Persons associated with the garden include: Bruce Baetjer (landscape architect, 1958); Wolfang Oehme (hardscape addition, 1990); Rose Wolford (pond design consultation, 1990); Gary Keim (landscape design consultation, 1995-present); Mary Pat Neff (bed layout consultation, 2000); and sculptors listed in folder.
Related Materials:
Duncuttin related holdings consist of 1 folder (29 35 mm. slides)
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
United States of America -- Maryland -- Baltimore County -- Pikesville
Date:
1930
General:
Edmunds, James R. - Landscape Architect for swimming pool. Rachel Hawkes is the sculptor.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
United States of America -- Maryland -- Baltimore County -- Riderwood
Date:
06/01/1984
General:
Sculpture "Boy & Pail" by Norman Mansson.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
United States of America -- Maryland -- Baltimore County -- Owings Mills
Shea Garden (Ownings Mills, Maryland)
Scope and Contents:
47 digital images (2016, 2018) and 1 file folder.
General:
The five and one-half acre property has a Dutch Colonial style house built in 1954 and had well-established copper beech, zelkova, redwood and Japanese maple when the current owners moved there in 1995. The first garden they established was a long perennial border filled with plants brought from another property, supplemented with annuals for continuous bloom. A multi-trunk Japanese maple outside the kitchen door is the focal point for a shade garden that fills a slope down to the driveway and holds the ground. To create a terrace for the front garden and divide it from a new looped driveway a low stacked dry stone wall was built. A vegetable garden with eight raised beds encouraged children to eat vegetables; now it is used mostly as a cutting garden with a recent addition of low bush blueberries outside the fence.
Other features on this property include a flagstone patio, a small waterfall, many bird feeders and bird boxes, a sculpture of two otters by Theo Gillick, small statues, native plants and deer fencing around the entire garden and woods.
Persons associated with the garden include: Smart family (former owners, 1954-1987); Tom Owsley (former owner, 1987-1992); Huntington family (former owners, 1992-1995); Mike McWilliams, Maxalea Landscaping (garden design, 1995- ); Kathryn Shea (landscape designer, 2015-2017); Theo Gillick (sculptor, c. 2012).
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
The papers of painter and educator Jeanne Patterson Miles measure 0.2 linear feet and date from circa 1950 to 1977. Found are biographical materials including a collage by Lenore Tawney; correspondence; photographs of Miles, of Miles with her art and at home, and of her works of art; printed material, and a mixed-media scrapbook.
Scope and Contents:
The papers of painter and educator Jeanne Patterson Miles measure 0.2 linear feet and date from circa 1950 to 1977. Found are biographical materials including a collage by Lenore Tawney; correspondence; photographs of Miles, of Miles with her art and at home, and of her works of art; printed material, and a mixed-media scrapbook.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Jeanne Patterson Miles (1908-1990) was a painter, sculptor and educator in New York City, New York. Born in Baltimore, Maryland, Miles studied at George Washington University, Grand Chaumiere, Paris, and with Marcel Gromaire. She taught at Moravin College for Women, Oberlin College, and the New York Institute of Technology.
Provenance:
Jeanne Miles donated her papers to the Archives of American Art in 1977.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Silberman, Robert B. (Robert Bruce), 1950- Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Extent:
61 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2009 July 22
Scope and Contents:
An interview of Joyce J. Scott conducted 2009 July 22, by Robert Silberman, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Scott's home and studio, in Baltimore, Maryland.
Scott talks about her childhood in Baltimore; childhood visits to the Baltimore Museum of Art and Walters Art Gallery; her parents' lives growing up in the segregated South; her artist mother, who was her first bead-teacher; craft traditions in her family, including pottery and quilting; quilting as storytelling, "diaries" for preliterate people; improvisational craft; Three Generation Quilt; Fifty .; undergraduate studies at Maryland Institute College of Art; travels after graduation in Mexico, Central , and South America; graduate studies in craft in Mexico; decision at age 23 to become a studio artist, and partnership with her mother; theater work with Robert Sherman and in New York and in Baltimore; theater work with Kay Lawal in Thunder Thigh Revue; studies at Haystack Mountain School of Crafts, Deer Isle, ME, where she learned traditional Navajo weaving, and learned the peyote stitch for beadwork, a seminal technique for her career; her book Fearless Beadwork: Improvisational Peyote Stitch: handwriting & drawings from hell. Rochester, NY: Visual Studies Workshop, 1994; working in different mediums; What You Mean Jungle Music? [1988]; working for recognition of beadwork as a sculptural medium; politics, social commentary, and humor in her work; series Day after Rape; her working processes; Rodney King's Head Was Squashed Like a Watermelon; working in monoprints; working in glass (flameworking, lampworking), including at Pilchuck Glass School, Stanwood, WA, Tacoma [WA] Museum of Glass, UrbanGlass, New York, NY, Haystack Mountain; retrospective exhibition, "Joyce Scott Kickin' It With the Old Masters" at the Baltimore Museum of Art, 2000; series Africa in Unexpected Places; installation work, including in "Images Concealed," San Francisco, 1995, and Believe I've Been Sanctified, Charleston, SC, 1991; small-scale work; influence of her upbringing in the Pentecostal church; Buddha Gives Basketball to the Ghetto [1991] and the importance of spirituality in her work; travels in South America, Africa, and Europe; the complementarity of performance/theater work and visual art; performance pieces: Generic Interference, Genetic Engineering, Virtual Reality, and Walk a Mile in My Drawers; Lips mosaic at Reagan National Airport, Washington, D.C.; teaching workshops at Haystack, Penland School of Crafts, Penland, NC, the Oregon School of Arts and Craft, Portland; artist-in-residency at Pilchuck; gallery affiliations, and usefulness of the gallery system, which allows her to work as a studio artist; the importance of galleries as a free venue open to ordinary people; luxuriating in beauty. She recalls Betty Woodman, Dr. Leslie King-Hammond, Lowery Sims, Fritz Dreisbach, Anthony Corradetti, Antony Gormley, Ann Hamilton, David Hammons, Mary Jane Jacob, Cesar Pelli, Susan Cummins, and Helen Drutt English.
Biographical / Historical:
Joyce J. Scott (1948- ) is a visual and performance artist and educator who lives and works in Baltimore, Maryland.
General:
Originally recorded on 4 memory cards. Reformatted in 2010 as 4 digital wav files. Duration is 3 hr., 11 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
John Outterbridge papers, 1953-1997. Archives of American Art, Smithsonian Institution.
An interview with Maren Hassinger conducted 2021 November 2–4, by Uchenna Itam for the Archives of American Art, at Hassinger's studio in New York, New York.Â
Biographical / Historical:
Maren Hassinger (1947- ) is an African American artist in New York known for sculpture, performance, and public art that use natural and industrial materials. She was also an educator and is the director emerita of the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art in Baltimore, Maryland.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the recording is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Educators -- New York (State) -- New York Search this
Performance artists -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York Search this
The papers of African American sculptor, jewelry maker, quilter, and performance artist Joyce J. Scott measure 9.1 linear feet and date from 1948 to 2019, with the bulk of the material dating from the 1970s to the 2000s, and individual materials from 1914 to 1915, and from 1932. The collection consists of biographical material; correspondence; writings; professional files, including exhibition and project files, born-digital materials, and gallery records; printed material; photographic material, including photo albums; artwork; and audiovisual material, including recordings of performances and lectures.
Scope and Contents:
The papers of African American sculptor, jewelry maker, quilter, and performance artist Joyce J. Scott measure 9.1 linear feet and date from 1948 to 2019, with the bulk of the material dating from the 1970s to the 2000s and individual materials from 1914 to 1915, and from 1932. The collection consists of biographical material; correspondence; writings; professional files, including exhibition and project files, born-digital materials, and gallery records; printed material; photographic material, including photo albums; artwork; and audiovisual material, including recordings of performances and lectures.
Arrangement:
This collection is arranged as eight series.
Series 1: Biographical Material, 1948-1977, 1989-2015 (Box 1; 0.4 linear feet)
Series 2: Correspondence, 1972-2014 (Box 1; 0.5 linear feet)
Series 3: Writings, circa 1970-circa 2000s, undated (Box 1-2; 0.3 linear feet)
Series 4: Professional Files, 1970s-circa 2013 (Box 2, OV 10; 0.9 linear feet)
Series 5: Printed Material, 1914-1915, 1932, 1953-2018 (Box 3-5, OV 10; 2.5 linear feet)
Series 6: Photographic Material, 1971-2019 (Box 5; 0.2 linear feet)
Series 7: Artwork, 1987-1989, 1998-2006, undated (Box 5; 0.1 linear feet)
Series 8: Audiovisual Material, 1983-2006, undated (Boxes 5-9; 4.2 linear feet)
Biographical / Historical:
Joyce J. Scott (1948- ) is an African American sculptor, jewelry maker, quilter, and performance artist in Baltimore, Maryland. She is best known for her use of off-loom bead weaving techniques to depict the complexities of race, gender, and class. Born in 1948, Scott is the daughter of quilter and folk artist Elizabeth Talford Scott, from whom she learned quilting. She earned a Bachelor of Fine Art from the Maryland Institute College of Art, and Master of Fine Art from the Instituto Allende in San Miguel de Allende in Mexico. In 2016, Scott was named a MacArthur Fellow, and she was named the Smithsonian Visionary Artist in 2019. Her work is held in permanent collections across the country, including at the Baltimore Museum of Art, the Spencer Museum of Art at the University of Kansas, the Museum of Fine Arts in Boston, and the Smithsonian American Art Museum.
Related Materials:
Also found at the Archives of American Art is an oral history interview with Joyce J. Scott, 2009 July 22 conducted by Robert Silberman.
Provenance:
The papers were donated to the Archives of American Art in 2019 by Joyce J. Scott as part of the Archives' African American Collecting Initiative funded by the Henry Luce Foundation.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of African American artist and educator Maren Hassinger measure 11.3 linear feet and 4.55 gigabytes, dating from 1955 to 2018. The collection contains biographical material; personal and professional correspondence; and writings; as well as project and exhibition files; material related to Hassinger's tenure at the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art (MICA); material related to other professional activities, including teaching files; photographic material; and artwork and artifacts.
Scope and Contents:
The papers of African American artist and educator Maren Hassinger measure 11.3 linear feet and 4.55 gigabytes, dating from 1955 to 2018. The collection contains biographical material including appointment and address books, education records, family and other home movie recordings, interview transcripts, and resumes; personal and professional correspondence; and writings including diaries, notebooks, notes, and writings by others. Also included are project and exhibition files, including accompanying audiovisual material and performance recordings; material related to Hassinger's tenure at the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art (MICA); material related to other professional activities, including other teaching files, panels, and grants; printed material; photographic material depicting Maren Hassinger, other individuals, and works of art, including student work; and artwork and artifacts.
Arrangement:
This collection is arranged as nine series.
Series 1: Biographical Material, 1959-2001, 2013-circa 2015 (Box 1; 0.5 linear feet, ER01; 0.001 GB)
Series 2: Correspondence, 1961-2018 (Boxes 1-2; 1 linear foot, ER02; 3.01 GB)
Series 3: Writings, 1955-2017 (Boxes 2-3; 0.7 linear feet)
Series 4: Project and Exhibition Files, 1966, 1982-2015 (Boxes 3-4, OV 12; 1.5 linear feet, ER03-ER04; 1.31 GB)
Series 5: Rinehart School of Graduate Sculpture/MICA Files, circa 1960s-2018 (Boxes 4-5; 1.4 linear feet)
Series 6: Professional Activities, circa 1969-2017 (Boxes 5-6; 0.8 linear feet, ER05; 0.006 GB)
Series 7: Printed Material, 1960-2018 (Boxes 6-9, OVs 12-15; 2.9 linear feet)
Series 8: Photographic Material, 1969-2010s (Boxes 9-10, OV 12, Box 16; 2.2 linear feet, ER06; 0.224 GB)
Series 9: Artwork and Artifacts, circa 1960s-2010s (Box 11; 0.3 linear feet)
Biographical / Historical:
Maren Hassinger (1947- ) is an African American artist in New York known for sculpture, performance, and public art in which she uses natural and industrial materials. She was also an educator and is the director emeritus of the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art in Baltimore, MD.
Born Maren Jenkins in Los Angeles, California in 1947, Hassinger studied dance and sculpture at Bennington College, earning a Bachelor of Arts in sculpture in 1969. In 1973 she completed a Master of Fine Arts in fiber structure at UCLA.
During her time in Los Angeles, Hassinger began to collaborate with Senga Nengudi — a collaborative relationship that has continued throughout their careers. She also participated in the Studio Z collective with Nengudi, Ulysses Jenkins, David Hammons, and Houston Conwill.
Hassinger taught at the State University of New York, Stony Brook from 1992 to 1997 and was the director of the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art from 1997 to 2018. Throughout her career, she has been awarded numerous residencies, awards, and grants. Her work is held in many collections including the Baltimore Museum of Art, the California African American Museum, the Hammer Museum, and the Studio Museum in Harlem.
Provenance:
The Maren Hassinger papers were donated to the Archives of American Art in 2018 by Maren Hassinger.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Performance artists -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York Search this
